Search Results for "why-i-am-not-a-feminist"

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Outspoken critic Jessa Crispin delivers a searing rejection of contemporary feminism . . . and a bracing manifesto for revolution. Are you a feminist? Do you believe women are human beings and that they deserve to be treated as such? That women deserve all the same rights and liberties bestowed upon men? If so, then you are a feminist . . . or so the feminists keep insisting. But somewhere along the way, the movement for female liberation sacrificed meaning for acceptance, and left us with a banal, polite, ineffectual pose that barely challenges the status quo. In this bracing, fiercely intelligent manifesto, Jessa Crispin demands more. Why I Am Not A Feminist is a radical, fearless call for revolution. It accuses the feminist movement of obliviousness, irrelevance, and cowardice—and demands nothing less than the total dismantling of a system of oppression. Praise for Jessa Crispin, and The Dead Ladies Project "I'd follow Jessa Crispin to the ends of the earth." --Kathryn Davis, author of Duplex "Read with caution . . . Crispin is funny, sexy, self-lacerating, and politically attuned, with unique slants on literary criticism, travel writing, and female journeys. No one crosses genres, borders, and proprieties with more panache." --Laura Kipnis, author of Men: Notes from an Ongoing Investigation "Very, very funny. . . . The whole book is packed with delightfully offbeat prose . . . as raw as it is sophisticated, as quirky as it is intense." --The Chicago Tribune

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An examination of New Testament Apocalyptic literature through the categories of post-colonial thought, deconstruction, ethics, Roman social discourse, masculinisation, virginity, and violence.

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A collection of feminist articles, the guiding principle of which is to define standards for the conduct of feminist research. Recognizing the importance of providing a forum for issues which critique traditional patriarchal values and ideologies, the essays seek to raise important questions.

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Geert Lovink interviews an international group of artists, critics, and theorists on aesthetic, cultural, and political aspects of new media. For Geert Lovink, interviews are imaginative texts that can help to create global, networked discourses not only among different professions but also among different cultures and social groups. Conducting interviews online, over a period of weeks or months, allows the participants to compose documents of depth and breadth, rather than simply snapshots of timely references.The interviews collected in this book are with artists, critics, and theorists who are intimately involved in building the content, interfaces, and architectures of new media. The topics discussed include digital aesthetics, sound art, navigating deep audio space, European media philosophy, the Internet in Eastern Europe, the mixing of old and new in India, critical media studies in the Asia-Pacific region, Japanese techno tribes, hybrid identities, the storage of social movements, theory of the virtual class, virtual and urban spaces, corporate takeover of the Internet, and the role of cyberspace in the rise of nongovernmental organizations. Interviewees included Norbert Bolz, Paulina Borsook, Luchezar Boyadjiev, Kuan-Hsing Chen, Cã¬(c)n Dan, Mike Davis, Mark Dery, Kodwo Eshun, Susan George, Boris Groys, Frank Hartmann, Michael Heim, Dietmar Kamper, Zina Kaye, Tom Keenan, Arthur Kroker, Bruno Latour, Marita Liulia, Rafael Lozano-Hemmer, Peter Lunenfeld, Lev Manovich, Mongrel, Edi Muka, Jonathan Peizer, Saskia Sassen, Herbert Schiller, Gayatri Spivak, Já(R) ̄s Sugá2¬ Ravi Sundaram, Toshiya Ueno, Tjebbe van Tijen, McKenzie Wark, Hartmut Winkler, and Slavoj Zizek.

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What does it mean to be a feminist today? Why do some women become feminists and others do not? Stepping Out of Line offers an insightful account of the struggle of becoming and being a feminist.

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Are women able to achieve anything they set their minds to? In How to Suppress Women’s Writing, award-winning novelist and scholar Joanna Russ lays bare the subtle—and not so subtle—strategies that society uses to ignore, condemn, or belittle women who produce literature. As relevant today as when it was first published in 1983, this book has motivated generations of readers with its powerful feminist critique. “What is it going to take to break apart these rigidities? Russ’s book is a formidable attempt. It is angry without being self-righteous, it is thorough without being exhausting, and it is serious without being devoid of a sense of humor. But it was published over thirty years ago, in 1983, and there’s not an enormous difference between the world she describes and the world we inhabit.” —Jessa Crispin, from the foreword “A book of the most profound and original clarity. Like all clear-sighted people who look and see what has been much mystified and much lied about, Russ is quite excitingly subversive. The study of literature should never be the same again.” —Marge Piercy “Joanna Russ is a brilliant writer, a writer of real moral passion and high wit.” —Adrienne Rich

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When addressed in its full reactive potential, gender has a tendency to unfix the reassuring certainties of education and academia. Gender pedagogy unfolds as an account of teaching gender learning that is rooted in Derrida's concept of the 'trace', reflecting the unfixing properties of gender and even shaking up academic knowledge production.